The word "quest" is described in five parts. A quester being just a person who goes on a quest. A place to go and a stated reason to go there can be considered together: when someone tells our protagonist to go somewhere and do something. Than challenges and trials which is self-explanatory. And than a real reason to go there which is also self-explanatory. The quest never involves the stated reason and by this the quester usually fails at the stated task. The quest is educational for younger, inexperienced, immature, sheltered individuals and that is why the real reason for a quest is self-knowledge. Once one has mastered quests, the rest is easy
1) You need stronger introduction sentences 2) The way you list the five parts is not as effective as it could be. 3) Than challenges - error: you should have used Then, 4) And than - error. Same issue as #3 with an additional issue - do not start with And 5) The quest is educational for younger, inexperienced, immature, sheltered individuals and that is why the real reason for a quest is self-knowledge. -Rule: 2 sentence joined with a coordinating conjunction such as "and" -place a comma in front of the coordinating conjunction 6) You are missing a period at the end of the paragraph. 7) This is very surface level. More specific concrete details in the form of examples could have made this stronger.
Thomas C. Forster in, “How to Read Literature like a Professor,” portrays the key parts that make a quest different from a trip. In Literature a, “quest consists of five things: (a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there” (Foster 3). If a trip in a story has all of these components, then it is considered a quest and if it does not then it is simply a trip that probably does not hold much importance. A reader must be careful to really pay attention to the story in search for these characteristics because not every quest involves a knight in shining armor or extremely large monster, that of course, only that knight can kill, which was basically the premise for every fairytale when we were young. In most quests, “the quester fails at the stated task” (Foster 3), but goes on, “because of the stated task, mistakenly believing that it is their real mission” (Foster 3). Most fairytales start off with a task that they must complete which usually requires a journey but in the end that is not the task that is achieved. Foster explains that they all start this way because that is the basic lay out of a quest and now that readers know that they can think back to most movies and books they have seen or read and realize that the parameters fit and they were all technically the same plot. Foster also reveals the key to all quests, which is that, “the real reason for a quest is always self-knowledge” (Foster 3), and “that’s why questers are often young, inexperienced, immature, selfish” (Foster 3). In a plethora of quest stories the main character finds love, confidence, or their true calling in life which becomes the real reward granted not the tangible item previously introduced in the story. If the character were not young or too often clueless of what is truly important in life then they would having nothing to learn and then the so called quest would be for nothing. By revealing the outline of a quest and the basic components, Foster introduces readers to a sort of cheat sheet for literature’s quests and their importance.
Thomas C. Foster in, “How to Read Literature like a Professor,” portrays the key parts that make a quest different from a trip. In Literature a, “quest consists of five things: (a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there” (Foster 3). If a trip in a story has all of these components, then it is considered a quest and if it does not then it is simply a trip that probably does not hold much importance. A reader must be careful to really pay attention to the story in search for these characteristics because not every quest involves a knight in shining armor or extremely large monster, that of course, only that knight can kill, which was basically the premise for every fairytale when we were young. In most quests, “the quester fails at the stated task,” but goes on, “because of the stated task, mistakenly believing that it is their real mission” (Foster 3). Most fairytales start off with a task that they must complete which usually requires a journey but in the end that is not the task that is achieved. Foster explains that they all start this way because that is the basic lay out of a quest and now that readers know that they can think back to most movies and books they have seen or read and realize that the parameters fit and they were all technically the same plot. Foster also reveals the key to all quests, which is that, “the real reason for a quest is always self-knowledge,” and “that’s why questers are often young, inexperienced, immature, selfish” (Foster 3). In a plethora of quest stories the main character finds love, confidence, or their true calling in life which becomes the real reward granted not the tangible item previously introduced in the story. If the character were not young or too often clueless of what is truly important in life then they would having nothing to learn and then the so called quest would be for nothing. By revealing the outline of a quest and the basic components, Foster introduces readers to a sort of cheat sheet for literature’s quests and their importance.
Thomas Foster explains what a “quest” in literature is composed of, and how it’s elements can be found in virtually every story one may read. Foster describes a literary quest as consisting of five things: “(a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there,” (Foster 3). While an event under the name of a “quest” may feel completely absent in certain stories, quests don’t have to consist of medieval questers and challenges, such as knights or dragons. As Forest explained, it could simply be a kid going to the store to get his mother some milk, or perhaps a man who must drive cross country to a certain destination. Foster elaborates on element (e), explaining how “the real reason for a quest never involves the stated reason,” and that “The real reason for a quest is always self-knowledge,” even stating that the quester more often fails the stated task then succeeds (Foster 3). He does so because most times, people often forget about the stated reason and grow attached to the protagonists in these stories. People no longer worry about what the character is doing, they’re looking deeper into his development; what he makes of himself, why he feels how he does, and if he’ll truly succeed not by saving some princess, but by becoming strong in himself. Foster brings up the point that although it may be difficult to see, many stories follow these conventions of a quest tale, such as “Huck Finn. The Lord of the Rings. North by Northwest. Star Wars. And most other stories of someone going somewhere and doing something, especially if the going and the doing wasn’t his idea in the first place,” (Foster 6). Foster has constructed a sort of check list for readers, a list of “conventional quest tale” qualities that they should look out for in every story they may read. Once one understands quests, other elements of the story begin to fall into place of those elements it all becomes easier to understand. By examining quests, readers will learn to understand that perhaps there’s more importance to different characters or events in a story; perhaps what seems like a mere trip to the store could be a heroic quest all of its own.
1) Good 2) No contractions 3) The Lord of the Rings. North by Northwest. Star Wars. And most other stories of someone going somewhere and doing something, especially if the going and the doing wasn’t his idea in the first place,” (Foster 6). ~ There are periods where there should be commas.
Thomas C. Foster in "How to Read Literature Like a Professor" explains how a "quest" is in most stories whether the reader realizes it or not. He states "the quest consists of five things: (a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there" (Foster 3). Foster made up a story of a young boy simply taking a trip to the grocery store. He describes what the boy encounters on that trip and how it related to other stories that have a "quest" theme. Each point that he stated was in a quest was relevant to the story he made up. Foster was displaying how even the simplest stories may contain a quest and then he links the quests to the idea of "the real reason for a quest is always self-knowledge" (Foster 3). He describes the typical quester and how they end up discovering things about themselves. Foster goes on to give examples of different books that show the quest theme and how the main character is acquiring self-knowledge. He advises that "when a character hits the road, we should start to pay attention, just to see if, you know, something's going on there" (Foster 6). Foster gives a basic explanation as to why readers should pay attention to the story because it could give them insight on how a "quest" is being tied into it.
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ReplyDeleteThe word "quest" is described in five parts. A quester being just a person who goes on a quest. A place to go and a stated reason to go there can be considered together: when someone tells our protagonist to go somewhere and do something. Than challenges and trials which is self-explanatory. And than a real reason to go there which is also self-explanatory. The quest never involves the stated reason and by this the quester usually fails at the stated task. The quest is educational for younger, inexperienced, immature, sheltered individuals and that is why the real reason for a quest is self-knowledge. Once one has mastered quests, the rest is easy
ReplyDelete1) You need stronger introduction sentences
Delete2) The way you list the five parts is not as effective as it could be.
3) Than challenges - error: you should have used Then,
4) And than - error. Same issue as #3 with an additional issue - do not start with And
5) The quest is educational for younger, inexperienced, immature, sheltered individuals and that is why the real reason for a quest is self-knowledge. -Rule: 2 sentence joined with a coordinating conjunction such as "and" -place a comma in front of the coordinating conjunction
6) You are missing a period at the end of the paragraph.
7) This is very surface level. More specific concrete details in the form of examples could have made this stronger.
Thomas C. Forster in, “How to Read Literature like a Professor,” portrays the key parts that make a quest different from a trip. In Literature a, “quest consists of five things: (a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there” (Foster 3). If a trip in a story has all of these components, then it is considered a quest and if it does not then it is simply a trip that probably does not hold much importance. A reader must be careful to really pay attention to the story in search for these characteristics because not every quest involves a knight in shining armor or extremely large monster, that of course, only that knight can kill, which was basically the premise for every fairytale when we were young. In most quests, “the quester fails at the stated task” (Foster 3), but goes on, “because of the stated task, mistakenly believing that it is their real mission” (Foster 3). Most fairytales start off with a task that they must complete which usually requires a journey but in the end that is not the task that is achieved. Foster explains that they all start this way because that is the basic lay out of a quest and now that readers know that they can think back to most movies and books they have seen or read and realize that the parameters fit and they were all technically the same plot. Foster also reveals the key to all quests, which is that, “the real reason for a quest is always self-knowledge” (Foster 3), and “that’s why questers are often young, inexperienced, immature, selfish” (Foster 3). In a plethora of quest stories the main character finds love, confidence, or their true calling in life which becomes the real reward granted not the tangible item previously introduced in the story. If the character were not young or too often clueless of what is truly important in life then they would having nothing to learn and then the so called quest would be for nothing. By revealing the outline of a quest and the basic components, Foster introduces readers to a sort of cheat sheet for literature’s quests and their importance.
ReplyDeleteExcellent! One thing - all citations go at the very end of the sentence.
DeleteOh! One more very important thing - you spelled the author's name wrong! Be careful!
DeleteThomas C. Foster in, “How to Read Literature like a Professor,” portrays the key parts that make a quest different from a trip. In Literature a, “quest consists of five things: (a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there” (Foster 3). If a trip in a story has all of these components, then it is considered a quest and if it does not then it is simply a trip that probably does not hold much importance. A reader must be careful to really pay attention to the story in search for these characteristics because not every quest involves a knight in shining armor or extremely large monster, that of course, only that knight can kill, which was basically the premise for every fairytale when we were young. In most quests, “the quester fails at the stated task,” but goes on, “because of the stated task, mistakenly believing that it is their real mission” (Foster 3). Most fairytales start off with a task that they must complete which usually requires a journey but in the end that is not the task that is achieved. Foster explains that they all start this way because that is the basic lay out of a quest and now that readers know that they can think back to most movies and books they have seen or read and realize that the parameters fit and they were all technically the same plot. Foster also reveals the key to all quests, which is that, “the real reason for a quest is always self-knowledge,” and “that’s why questers are often young, inexperienced, immature, selfish” (Foster 3). In a plethora of quest stories the main character finds love, confidence, or their true calling in life which becomes the real reward granted not the tangible item previously introduced in the story. If the character were not young or too often clueless of what is truly important in life then they would having nothing to learn and then the so called quest would be for nothing. By revealing the outline of a quest and the basic components, Foster introduces readers to a sort of cheat sheet for literature’s quests and their importance.
Deleteperfect -thanks
DeleteThomas Foster explains what a “quest” in literature is composed of, and how it’s elements can be found in virtually every story one may read. Foster describes a literary quest as consisting of five things: “(a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there,” (Foster 3). While an event under the name of a “quest” may feel completely absent in certain stories, quests don’t have to consist of medieval questers and challenges, such as knights or dragons. As Forest explained, it could simply be a kid going to the store to get his mother some milk, or perhaps a man who must drive cross country to a certain destination. Foster elaborates on element (e), explaining how “the real reason for a quest never involves the stated reason,” and that “The real reason for a quest is always self-knowledge,” even stating that the quester more often fails the stated task then succeeds (Foster 3). He does so because most times, people often forget about the stated reason and grow attached to the protagonists in these stories. People no longer worry about what the character is doing, they’re looking deeper into his development; what he makes of himself, why he feels how he does, and if he’ll truly succeed not by saving some princess, but by becoming strong in himself. Foster brings up the point that although it may be difficult to see, many stories follow these conventions of a quest tale, such as “Huck Finn. The Lord of the Rings. North by Northwest. Star Wars. And most other stories of someone going somewhere and doing something, especially if the going and the doing wasn’t his idea in the first place,” (Foster 6). Foster has constructed a sort of check list for readers, a list of “conventional quest tale” qualities that they should look out for in every story they may read. Once one understands quests, other elements of the story begin to fall into place of those elements it all becomes easier to understand. By examining quests, readers will learn to understand that perhaps there’s more importance to different characters or events in a story; perhaps what seems like a mere trip to the store could be a heroic quest all of its own.
ReplyDelete1) Good
Delete2) No contractions
3) The Lord of the Rings. North by Northwest. Star Wars. And most other stories of someone going somewhere and doing something, especially if the going and the doing wasn’t his idea in the first place,” (Foster 6). ~ There are periods where there should be commas.
Thomas C. Foster in "How to Read Literature Like a Professor" explains how a "quest" is in most stories whether the reader realizes it or not. He states "the quest consists of five things: (a) a quester, (b) a place to go, (c) a stated reason to go there, (d) challenges and trials en route, and (e) a real reason to go there" (Foster 3). Foster made up a story of a young boy simply taking a trip to the grocery store. He describes what the boy encounters on that trip and how it related to other stories that have a "quest" theme. Each point that he stated was in a quest was relevant to the story he made up. Foster was displaying how even the simplest stories may contain a quest and then he links the quests to the idea of "the real reason for a quest is always self-knowledge" (Foster 3). He describes the typical quester and how they end up discovering things about themselves. Foster goes on to give examples of different books that show the quest theme and how the main character is acquiring self-knowledge. He advises that "when a character hits the road, we should start to pay attention, just to see if, you know, something's going on there" (Foster 6). Foster gives a basic explanation as to why readers should pay attention to the story because it could give them insight on how a "quest" is being tied into it.
ReplyDeletefine
Delete